Customer Reviews

Schumann: Piano Concerto / Strauss: Burleske

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Grimaud is at her finest when playing Brahms and Schumann, and it is during these performances that her efforts go from being a vocation to a religion. A woman that takes her art very seriously, she has given us here a recording of almost unparalleled beauty, complete with subtile personal touches, and an attention to detail few artists her age can exhibit. Simply ignore the Amazon review -Helene is not Martha Argerich, nor does she strive to be. She is unique in her approach, and if one has the opportunity to see her play live, she should not be missed. Zinman is a fine conductor, and his efforts here pay off.

I've heard Richter, Perahia (2 versions), Kovacevich, Argerich, and Zimerman on this one concerto. Grimaud's the best, period! Never before has this music been rendered so naturally and effortlessly. Kudos, Ms. Grimaud!

Helene Grimaud's version deserves top billing alongside Perahia's two versions as the finest recent recordings of Schumann's piano concerto. Hers is a recording I fell in love with immediately, due to her warm, lyrical playing, not because she may be the prettiest celebrated pianist alive! She seems as celebral and as warm as Perahia is, playing all three movements at nearly the same tempi. Admittedly, the German Symphony Orchestra of Berlin isn't as well moulded an ensemble as either the Bavarian Radio Symphony Orchestra or the Berlin Philharmonic, yet David Zinman does a fine job conducting, letting himself and his orchestra serve as sympathetic accompanists to Grimaud's commanding performance. Both Grimaud and the orchestra also give a fine performance of Strauss' "miniature" piano concerto.

When Helene Grimaud recorded this disc in 1995 she was twenty-five and yet a seasoned studio veteran for seven years. It took me a while to be won over by her style, which struck me at first as imitation Argerich in its punchy attacks, free rubato, and unbuttoned spontaneity. But what I was objecting to was actually the exaggeration of very desirable qualities, and going back through her early recordings, I was deeply impressed more often than not. Here the opening bars of the Schumann A minor concerto are launched with high energy and fervor. One is reminded of Serkin, especially his early mono recording, and yes, of Argerich.

As the movement unfolds, however, Grimaud varies her touch, and we get sensitive, lyrically shaped playing.There's always a sense of urgency and forward motion - too much so in the Intermezzo, which needed to relax and offer more contrast to the opening Allegro. Zinman follows his soloist with orchestral accompaniment that is neither here nor there musically but has the virtue, at least, of not lagging. Such a charismatic pianist would challenge a considerably stronger conductor. The finale is attacked with the same vigor and speed as the first movement. This makes for a lack of variety, but frankly, it hardly matters when the piano playing is this dazzling. Being swept up in the excitement is the reason for loving Grimaud's performance if you're going to.

Richard Strauss was 22 when he wrote the splashy showpiece Burleske, three years younger than Grimaud when she recorded it. Zinman has recorded a complete Strauss cycle with his own Zurich Tonhalle orchestra, and on this occasion he's up to scratch, although one wouldn't mistake the DSO Berlin for the Berlin Phil., which Abbado conducts to accompany Argerich in the same work. they are loud and vigorous but no more. Again it's Grimaud who seizes the reins, and thanks to her the proceedings are a thrill. She has a very appealing instinct for this score, making it sound like real music while meeting every virtuosic challenge with an ease that makes you smile. Here lack of aggression, in fact, is a hallmark of this performance and makes it one of the most attractive I've ever heard.

In all, this is a charismatic program from beginning to end. The piano is a good instrument, and the recorded sound all around is vivid and free of digital glare. Knowing that very serious health problems lay in store for this wonderful artist makes her early recordings, done in such a fresh spirit, all the more treasurable.